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Whose Reality Introductions In Essays

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Essay/Term paper: Reality vs. illusion Essay, term paper, research paper: Essays

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Reality vs. Illusion

I. Introduction
A. Introduce topic
1. Reality and illusion
2. Confusion between the two

II. First Body
A. Othello
1.Othello is a great example
2. Iago gains revenge through this

III. Second Body
A. Othello
1. Out of revenge
2. Iago uses his plan

IV. Conclusion
A. Reality vs. Illusion
1. Confusion between the two
2. Iago knows how to get his way

Reality and illusions are two words which may be confused among
people reading or learning about this sort of topic. Reality is what is real or
true and should not be misinterpreted with illusion, which is fake or something
a person believes is real. Often people can put an illusion in some ones head
and through words, can manipulate how they think, which affects the person's
judgment on what is reality and what is an illusion. Illusions can be mistaken
as being reality and very often there is a person making another believe in the
illusion through his/her actions and speech.
The play "Othello" has the greatest example of this and is
easily understood through this example. Iago is a very intelligent man who uses
peoples weaknesses to his advantage. Iago has got to be one of Shakespeare's
most evil characters and he is a character who stands out among all of the
Shakespeare characters. Iago uses his skill to gain revenge and take advantage
of people who he believes deserves this sort of punishment.
Iago uses this revenge in many occasions, one in particular he
talks to Othello about Casssio and makes Othello believe that Cassio is sleeping
with Othello's wife Desdemona. This is definitely not the truth but Iago talks
in such a way that Othello has no choice but to believe him. Iago also plants
Desdemona's handkerchief in Cassio's cabin knowing that Othello will eventually
find it. Iago uses persuasive words to make Othello believe these illusions and
as an extra plan Iago is making Othello trust in him because only a good friend
would break this kind of news to another friend.
Reality and illusion are often mixed up as in Othello. People
have to look out for the situations such as this. It is hard to believe such
opposite words with opposite meanings could be mixed up so easily if a person
actually puts some intelligent thinking behind a plan like this. To give credit
where credit is due, Iago is very intelligent and he knows how to get his way.

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Other articles

Whose Reality - Essay by Joneco909

Whose Reality Essay

Below is an essay on "Whose Reality" from Anti Essays, your source for research papers, essays, and term paper examples.

The Social Network ‘Whose Reality’
The online world, Is it real or not?

People are becoming sucked into playing computer games religiously, some people use online computer gaming and networking as their actual 24/7 life, they are put in to a habit of playing or chatting non-stop and don’t actually think to see what else they should be doing and then their social skills become bad and they believe that the gaming or networking is their life. Some people play games then do it in real life, especially for kids, they may think they can drive on the computer game but then on the road they don’t and become over confident.
Inception, the wife didn’t realise which world is real and got mixed up with the real world and imagination. The movie Inception, the main character and his wife were going into dreams and creating their own world, this then led to the wife not knowing which is the real world and thought the dreams were real, she then killed herself in the real world as she was confused.
Online activities are getting us to use it more and become a habit. Everyday more and more people are going online to Facebook and other networking sites, this is silly because some of us don’t even have the money for other important things but yet have the ability to communicate to others from the other side of the world. Not only are the people doing something wrong but people are introduced to new things, even Google now have face chatting and people being able to speak to each other. Parents need to be enforce the amount their kids use Facebook or computer games as it distracts them from school work and social skills.

Facebook changes the way people behave online. When people set up an account on Facebook they can easily make them self look like they are a 16 year old boy or girl, when they are really in their mid-30’s. But people can also change the way they look, most of us try create a pose that looks cool, everyone likes it and something that doesn’t show their real.

Writing gripe essay and also the player whose reality essays

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Writing gripe essay and introduction for argumentative essay

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Whose reality essays - Best Essay Aid From Best Writers

Whose reality essays

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Enduring love whose reality essay

Enduring love whose reality essay

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ToK to Life, ToK to Reality

ToK to Life, ToK to Reality. – Introductory lesson 2

This is the second introductory lesson for teaching a G12 / DP2 / Y13 ToK group as a new teacher to group. The first lesson in this series can be found here .

I can develop Knowledge Questions and Knowledge Claims from Real Life Situations.

I would start this lesson by playing Soul II Soul’s 1989 Club Classic Back To Life .

1. Using the ‘Really Easy Guide to Knowledge Questions ‘ explain to students what a Knowledge Question is.

2. Ask students to write down 5 real life situations that have interested them. If they can’t think of any then they could choose from my list at the end of this page, or you could give them your own examples.

3. Students to write 5 knowledge questions for each of their real life situations. (examples of RLS converted to KQ can be found below)

4. Share and discuss the quality of the devised KQ’s.

5. Introduce the ToK Presentation Diagram (examples here and here (IBO Guide)).

6. Ask students to choose their ‘favourite’ KQ, and to develop 2 consequent KQ’s from the original, and associated RLS in exemplification.

7. Students to present positions for and positions against their original KQ, and to find evidence to exemplify their points.

At this point students could start to develop their work into their first ToK Presentation. Distribution of ToK Assessment Instrument, and TK/PPD form is imperative if they are to start working on their presentations at this point.

Some examples of Real Life Situations which could be of interest, use these as examples that students could develop into KQ’s

1. There have been repeated sightings of UFO’s in the Mojave Desert since the late 1940’s. This could possibly indicate that earth is being visited by non-earth based life forms.

2. Some people have developed resistance to diseases which are fatal for many such as HIV and Ebola. Is this modern day evolution of humans ?

3. Research shows that company CEO’s are more likely to display psychopathic tendencies. Does this mean that compassion and care are attributes of weakness in business ?

4. Research shows a strong correlation between reading proficiency in young people, and later exam success. Therefore, are parents who don’t place emphasis on reading with their children guilty of neglecting their child’s future ?

6. Affirmative Action in admissions to US Colleges. An article for Affirmative Action, and an article against (Warning – I consider this article very inflammatory, anecdotal and uses language which some may find offensive).

Building Bridges with Language

Real life situation: Arabic to be made mandatory in all Israeli school
Knowledge question: To what extent does language shape thought and behaviour?

Freedom or Knowledge?

Real life situation: The Wikileaks disclosures about Western governments’ foreign policy
Knowledge question: Who should decide about the amount of knowledge accessible to the general population?

Sourcing our Food

Real life situation: Monsanto and genetically engineered food
Knowledge question: Who should decide on the part played by natural science in our lives?

Righteous Anger Art and its Audience

Real life situation: Joshua Bell busking in New York City
Knowledge question: To what extent does context inform the way we interact with the arts?

Prime Time News

Real life situation: The Manila tourist bus hijacking
Knowledge question: Has the news become entertainment and what are the implications of this?

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Whose Reality l SAC Preparation-Prompts and Approaches

  • To be adequately prepared to the of the Unit 3 and Unit 4 SAC tasks, you should attempt to complete several pieces of writing in the persuasive, expository and imaginative styles on set prompts for specific audiences, purposes and contexts.
  • You are reminded that you are demonstrating your knowledge and understanding of the Context and all its related key concepts and how the set text relates to these concepts.
  • A written explanation of decisions about form, purpose, language, audience and context must accompany each text.
  • Choose from the following prompts.
  • Remember to carefully analyse the prompt ( see the Planning a Response section on this website for help).
  • Remember to carefully draw upon the set text(s) and ensure your use of the text is evident (avoid obscure or tenuous links).
  • Use the Planning a Response questions to plan your response and your written explanation.

    1. ‘Our view of reality is never entirely in our own control.’

    2. ‘The way people perceive reality is shaped by those around them.’

    3. ‘We create our own versions of reality.’

    4. ‘We do not always welcome those who seek to shape our reality.’

    5. ‘What we are told dictates the way we perceive the world.’

    6. ‘Losing touch with reality can often be dangerous.’

    7. ‘In the modern world, it has been increasingly difficult to place trust in the concept of reality.’

    8. ‘Misrepresenting reality can have serious consequences.’

    9. ‘We create our reality, but we are never completely in control.’

    10. ‘If we told the truth about our lives, no one would want to listen’.

    11. ‘We can never tell a completely truthful story’.

    12. ‘The most powerful voice dictates the reality of others’.

    13. ‘Racism is a distorted reality’.

    14. ‘Human communication is curtailed by the stories we tell about others’.

    Sample Approaches (scenarios) for Different Forms and Purpsoes

    In responding to your chosen prompts, you may find the following list of suggestions useful if you are stuck for ideas for creating texts for different purposes and forms.

    In creating your responses, ensure you adopt the stylistic features and conventions of the text, and the "voice" of the character(s) - for example, their vocabulary, way of speaking — reflecting their personality.

    Remember that the title for this area of study is “Creating and Presenting”; this should give you a clear idea about what you will be required to do — create different types of written texts.

    Do not harbour the illusion that only imaginative styles lend themselves to creative forms such as stories, personal letters, diary entries, scripts, etc. So do persuasive and expository styles. It’s simply a matter of thinking through how you will construct your persuasive argument and expository texts. Any of the following suggestions below can lend themselves to persuasive, expository or imaginative texst.

    1. You are a journalist working for a daily metropolitan newspaper. Write an anecdote to be included in a feature article that will explore how and why people perceive the same things differently. Your anecdote should refer to the characters in your text. Alternatively, create your own characters with the same personality, character traits, language and speech patterns as those from the set text(s).
  • In a piece of writing for a short story anthology create a character who suffers from some sort of delusional illness. In creating your character, draw on the personality traits and like-experiences of one or more characters from your set text.
  • As a companion piece to 2, write a 'convincing facsimile' of Doctor's report on a patient suffering from a delusional disorder just after admission to a mental institution.
  • Write the transcript of a presentation your will deliver to a suitable forum about someone who suddenly finds themselves in a community that has completely different values and attitudes from the ones that he or she is used to. In creating your character, draw on the personality traits and experiences of one or more characters from your set text.
  • Select a film/television adaptation of the set text and compare excerpts with the original text. Write a review of the adaptation for the education section of a daily newspaper.
  • A quarterly magazine is running a competition for unpublished authors. The topic is 'Looking at the world through rose-coloured glasses'. You decide to enter the competition using this prompt as a way of exploring the ideas and issues in the Context 'Whose reality?' Write your entry.
  • Write a human interest story for a monthly magazine about a person who changed people's perceptions about the value of something. In creating your character, draw on the personality traits and like-experiences of one or more characters from your set text.
  • Write a review of one of the selected texts for this Context for a student newspaper. Introduce your readers to features of the text and make reference to the strategies that are used to explore ideas relevant to the prompt.
  • Create a piece of writing for a suitable publication that explores an aspect of the Context where you present an exchange of ideas between two characters in the same, or different, texts that you have studied.
  • Write a feature article for a daily metropolitan newspaper where you investigate the prompt in an expository or persuasive mode. To support your findings, draw on interviews you have conducted with the characters from the set text(s).
  • Write two contrasting articles (with headlines) about the same issue designed to be published in a major metropolitan newspaper. Draw on like-issues from the set text(s).
  • Write a short story, journal or diary entry of a time when a character realises that their perception of a situation, or an incident, is different from someone else's. (What are the differences? How does the character become aware of the differences? Does it matter that there are differences? What is the resolution?) In creating your character, draw on the personality traits and like-experiences of one or more characters from your set text(s).
  • Write a passage of dialogue from the script of a television soap opera. You can include two to four characters but base these on like-characters from the set text(s).
  • Review the text you have studied relating it to the ideas or arguments in the prompt.
  • Write a story where two or more people go away from a single incident with very different versions of what happened. In creating your characters, draw on the personality traits and like-experiences of characters from your set text(s).
  • Present an argument between two or more characters from the set text(s), or ones that you create (but draw on the personality traits of one or more characters from your set text) arguing or discussing the possibility that 'sanity' is merely a reflection of the view of the majority in any given situation.
  • Recall a childhood or adolescent memory that was important to you. Use this as the basis for a piece of writing. Frame your narrative by incorporating 7 to 10 significant quotations from the set text that are directly relevant to the Context. Ensure your narrative addresses each quotation. Draw on the specific linguistic structures and features of your set text (e.g. senses, metaphor, point of view).
  • How do we cope when our reality is undermined by evidence contrary to our previous understanding? How easy is it for us to see the world in a different manner? Create an imaginative or expository or persuasive text and consider an appropriate form to address these questions. Create like-characters and situations from the set text(s) or identify significant evidence from the text to support your ideas or arguments.
  • Explore the ways in which different realities seem to exist at the same time in different places. Create like-characters and situations from the set text(s) and/or identify significant evidence from the text(s) to support your ideas or arguments.
  • Create a narrative with a series of turning points where the character's understanding about reality changes. In creating your character, draw on the personality traits and like-experiences of one or more characters from your set text.
  • Create a reflective piece based on a remembered situation. Use a metaphor to convey the narrator's feelings about this memory. Relate your ideas to similar moments in your set text as points of comparison and/or contrast.
  • Create a text where you explore or argue the idea that we order the world according to our values rather than how it is. Create an imaginative or expository or persuasive text and consider an appropriate form. Create like-characters and situations from the set text(s) or identify significant evidence from the text to support your ideas or arguments.

    Scenarios of how you can draw on the text Wag the Dog

    1. Consider the reasons the main characters help to create the alternative reality presented to the American public. Consider the difference between Brean and Ames’ reasons, and those of Motss, the Fad King (Motss’ marketing guru), and songwriter Johnny Dean. Argue which character you believe has the better, or more moral, motivation in creating the alternative reality of the Albanian war.
  • Create your own persuasive, expository or imaginative piece by drawing on Brean’s argument that it makes no difference to the public whether a war is real or not, but instead that all that matters is that they believe there is a war.
  • Create an expository, persuasive or imaginative piece of writing where, using the ideas within the film as the context for your writing, think of a recent conflict you’ve read about or seen on the news. Do you believe that it is real? How do you know?
  • Levinson uses a number of film techniques to suggest the difficulty of telling truth from invention. (e.g. consider the camera shots of Motss’ mansion in the Hollywood Hills early in the morning following the team’s all-night brainstorming session (from 0:26:20)). Now create your own original imaginative piece that draws on the film techniques of the film to show the difficulty of telling truth from invention.
  • Think about why a television network would broadcast footage of what seems to be a war zone without checking its veracity? What are the aims of a television network, and how might this compromise the truth? Explore this idea in an expository or imaginative piece of writing. Or, argue that the media must compromise the truth – but think of justifiable reasons.
  • At the end of the Wag the Dog. we see most clearly the meaning of the title of the film: the media creates the truth, rather than reporting the truth as it already exists. Create a piece of writing that explores this idea.
  • Create a persuasive, expository or imaginative text comprised of each of the following:
    a) a false media release
    b) a discussion of what the effects of the release could be if accepted and published by the media.
  • Levinson’s argument about the difference between the promise and messages of American politics and its reality is cleverly shown at the beginning of the film. The contrast between the swelling soundtrack of the opening political advertisement, and the mundane sound of the vacuum cleaner vacuuming the carpets of the White House (0:01:15) sets up the contrast between ideal and reality, between message and truth. Using a similar idea, create an imaginative text that contrasts the difference the difference between the promise and messages of Australian politics and its reality.
  • Analyse Motss’ use of language, particularly focusing on how his manipulation of words helps him to do his job well. Create an imaginative text using a similar character who manipulates others through his language.
  • Write a persuasive feature article with the heading: ‘The media no longer reports the news, it helps to create it.’
  • Create a letter written by Motss before his death in which he breaks ranks with Brean and claims ‘The credit!’ for what they did.
  • Create a newspaper article that ‘breaks’ the story of Brean, Ames and Motss’ deception of the American public. Think about the tone and language which might be used by a media outlet which was duped by the fabricated story.
  • Create an expository essay that explores the prompt ‘Reality is controlled by the powerful’, paying particular attention to Levinson’s use of irony and camera shots.

    Scenarios of how you can draw on the text Foe

    1. Write an expository essay on the topic: ‘Those in authority use language to determine how we see reality’. Draw on examples from Foe and other sources to support your points.
  • Write the text of a speech for a Public Speaking Competition on the topic: ‘Stories tell us more about society than reality’.
  • Write a feature article for a magazine on the topic: ‘A story cannot be both interesting and true’.
  • Use several different forms, and/or several narrators, in a short story that shows that people experience the same events differently.
  • Create a multimodal text entitled ‘Whose reality?’ combining allusions to songs, artworks, images, films and/or print texts that shows how an event is represented differently over time.
  • Write the text of a short monologue telling the story of someone whose story has been rewritten by someone else so that they no longer recognise it as their own.
  • Write the script of a speech to be given at your school assembly entitled ‘If we told the truth about our lives, no one would want to listen’.
  • Write a first-person account exploring how the narrator changes their interpretation of something that happened to them in the past.
  • Write a persuasive text responding to Foe’s claim that ‘he has the last word who disposes over the greatest force’ (p.124).
  • Use an analogy, followed by several interpretations of it, to explore the idea: ‘Reality is a construct’.
  • Write a short story that explores the idea: ‘We can never tell a completely truthful story’.
  • Using the way Coetzee has structured Foe as a model, write a narrative with the first part in the present tense recalling an experience, either real or fictional, and follow it with a second part, written in the past tense and in a different form, changing the story by adding new details.
  • Based on your reading of Foe. write the script of a monologue to be spoken by Cruso providing his version of Susan’s arrival on the island and the time they spent together before the arrival of the rescue ship.
  • Write an anecdote about an imaginary character who misunderstands an event or situation. Show how and why they come to understand it differently. Bring your account to life with a vivid visual image.
  • How do you think someone like Friday, who cannot understand language or make himself understood, would see the world? Write the narrative.
  • The ship’s Captain believes that a story about a female castaway would ‘cause a great stir’ (p.40) but Susan believes Foe would have found the story ‘better without the woman’ (p.72)? Account for these different points of view.
  • According to Foe, ‘he has the last word who disposes over the greatest force’ (p.124). Construct a persuasive text on the topic: ‘Those in authority determine how we see reality’.
  • Drawing on your reading of Foe. write a text reflecting on the topic: ‘When we tell and re-tell stories about events that have happened to us, it is sometimes difficult to distinguish between reality, our memories of it, and the details we invent over time’.
  • Explore some of the ideas in Foe writing in a different form, for a different audience. For example, write a magazine article featuring an interview with the subject of a biography who feels that their story has been misrepresented by their biographer.
  • Create several accounts of the same experience, using different text types such as a letter, a memoir, or a journal entry. In each version, add to or change details that show how the account is becoming increasingly unlike the first description.
  • Essay on Vermeer, houding, perception of reality, psychology of perception, art psychology, realism, illusionism, trompe l�oeil, brain channels, neu

    1. Foreword. An essay on Vermeer, brain channels, neural stimulus, visual perception and art appreciation A 20,000-word essay on the interface between the fields of Vermeer, Art History and cognitive science, neuroscience and neuresthetics, psychology of perception, art psychology, written by Vermeer specialist, art historian Drs. Kees Kaldenbach, Amsterdam. Chapters:

    Updated August 2, 2016.

    Around 2002-2003 I started writing this essay - in a project that would/should/could have become my PhD thesis. For various reasons this project has ingloriously stranded. This text now published online comprises most of the 21.000 word text.

    Upon request I am available to give lectures on this theme, worldwide, for university audiences and other interested groups.

    During the past decades many cognoscenti (cognoscenti think they are in the know) have come to realize that Vermeer has surpassed Rembrandt as the crowning glory of Seventeenth Centrury Dutch art. Many books have been written about the fabulous magic and allure of Vermeers paintings. I think that cognitive science, brain channels, neural stimulus, visual perception, neuroscience and neuresthetics have many things to say and explain about why and how. This text is a tribute to Hale, Ramachandran and many other authors with a good eye and an open mind.

    The last sections are a critical reappraisal of books written on Vermeer and digital projects about Vermeer.

    This is an unfinished and thus unpolished presentation. It presents state of the art knowledge in 2003.

    I would like to extend my thanks to all people I communicated with, art lovers, art historians, library staff members, and other professionals but also to those “amateurs d’art” with a good eye.
    My special thanks go to my wife Brenda Kaldenbach-Holtz who has provided practical and spiritual support and has edited many pages of manuscript.
    This essay has remained unpublished until July, 2011.

    If you would like to read a general interest text (non-academic) on Vermeer and his home town of Delft please go to

    A thesis on Rembrandt and the Rough Manner by Natalie Zeldin, dates from 2013; she also discusses Neuroaesthetics and art.

    A good read: The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present by Eric R. Kandel, 636 pages. 2012.

    BBC television: The madness of Vermeer - Secret lives of the artists. Interviewer Andrew Graham -Dixon. Now on Youtube. At the exact time of 35 minutes. 39 seconds the interviewer Andrew Graham-Dixon parks the bike and enters my home. What you do not see in the movie is the rest of the crew: lights, sound, cameraman, continuity, the director. The item was surprisingly filmed at my home in one take. Thanks to Andrew's quality of asking the right questions at the right moment. Beforehand I had to clean up my desk, though.


    1) I am indebted to other art historians and critics whose points I took to heart along the way. Sadly, I do not recall their names to give them credit where credit is due for their ideas and words which codified my approach to art.

    2) To Vermeer, whose work is truly the most inspirational of all, as it embodies all these points and is partly why his art still speaks to us today.

    I read parts 1 and 2 of your essay on Vermeer. I am reading it slowly as there is much valuable information that coincides with my education, experience and philosophy. I enjoyed it immensely and found it enlightening. It is very well written, every crafted line is solid and packed.

    Much of my work revolves around visual perception, physiological and psychological. Early textbooks from my student days among others are "Seeing with the Mind's Eye" by Samuels and Samuels and "Ways of Seeing" by John Berger. I also draw on many areas of art history and movements with their corresponding techniques to achieve my artistic goals. I mean why not draw (pardon the pun) upon a wide visual vocabulary.

    Along these lines I thought I would send you my current artist statement, not to boast, but to point out how I believe we think along similar lines. After years of study and applications I have what I believe to be my standard for the rest of my career. However, it may be revised or added to as time goes on and I continue to grow. Please view it as a conversation in regards to what you wrote.

    I hope you find it interesting and perhaps useful. If I may.

    An artist cannot escape the era in which he or she lives and that era naturally influences his or her art. Yet any artwork must achieve certain standards to reach its fullest expressive potential regardless of the time period it was created in.

    Therefore, I do not engage art unless all of the following four criteria are and will be met.

    1) Does my subject speak to the universal human experiences or values?

    2) Does this image speak on multiple levels, from its sheer emotional beauty to a higher level or order of human thought?

    3) Will it speak across the ages of mankind?

    4) Has it achieved artistic virtuosity (within its context and visual syntax) or in other words, can it stand with the masters?

    Tip for museum visits:

    Fast track VIP entry in ALL Amsterdam museums. Avoid spending time waiting in museum queues. Enter the museums together with me.

    Haarlemmermeerstraat 83 hs

    1058 JS Amsterdam

    telephone 020 - 669 8119

    (from abroad NL +20 - 669 8119)

    cell phone 06 - 2868 9775

    (from abroad NL +6 - 2868 9775

    Please note: All materials presented on this 2000+ item web site are original and therefore copyrighted. If passages are quoted (in essays, dissertations, books or other works, written or otherwise) then references must be made in the proper way. That is, the quoted passages must be attributed to the author, and the source of the material (i.e. this website) must be cited.

    Written 2002-2003. Published online, July 17, 2011. Updated 5 february, 2015

    "I detected one misprint, but to torture you I will not tell you where."
    Winston Churchill to T.E. Lawrence, re: Seven Pillars of Wisdom

    2013: BBC shoot in Rijksmuseum, Amsterdam.

    BBC 4 TV programme shoot in the Rijksmuseum, Amsterdam, March 28, 2013 just before the formal opening. Kaldenbach in red jacket. Behind the middle cameraman interviewer Andrew Graham-Dixon. The director approaching from the right.

    Research presented in November 2014 about the Amsterdam art collector Mannheimer: he almost bought the best Vermeer: The Art of Painting (now in Vienna)